Scarlet Witch #9 (Marvel): I&N Demand I’m happy to report that James Robinson’s tucked his junk away for his intriguing turn on Scarlet Witch. This book’s been monthly magic! OK, so we celebrated Robinson’s The Shade (DC)–feels like forever ago–and celehated just about everything else since then save for his full-of-hot Airboy, which was a balls-out blast to the past that sold me on Robinson’s page-bound prickish self, particularly as he hit some notes that recalled David Duchovny’s cock(un)sure Hank Moody in the hilariously depressing Californication. What a Wanda-full world he’s created here–with the help a different artist for each effort in order to create an interconnected series of singular experiences, which reminds of Ales Kot’s groundbreaking-and-then-standing-over-the-broken-pieces-and-gloating Zero (Image). Issue #8 found artist Tula Lotay delivering an appropriately hypnotic performance–one that helped to sell the all-important intimacy and to deliver the Ringmasterful twist. This month: Joëlle Jones assumes art duties. Something tells me the lady’s gonna kill it.

The Vision #10 (Marvel): I&N Demand Later, this very reader, on this very blog, would write a review of The Vision and its creators that no one has written before–and it’d go viral, leaving dancing grooms and blustery moguls dancing and blustering in the datadust. A blurb would be bounced about the Twitterverse enough to convince some eager editor to snatch it and put it in print somewhere Marvelous. Then and only then would the world come to realize how integral Tom King’s vision and his voice have been to the evolution of the medium during this Vibranium Age for comics. For now: on the strength of #9, and King and Walta’s playing us like a Wakandian piano, before diving into #10, don’t forget your flak jacket, your helmet, and, for obvious reasons, your safety glasses. This could get ugly very quickly.

Black Eyed Kids #5 (Aftershock)

Cirque American: Girl Over Paris #2 (Jet City Comics)

Johnny Red #8 (Titan)

Providence #10 (Avatar): I&N Demand Word wizard Alan Moore’s painstakingly finger-banging my brain. I offer it up to him again. There’s nothing like it on the shelf. There can’t be anything like it on the shelf.

Great Scott! Can it be? Has a third of the year gone by without us posting one of our ballyhooed Top 5 lists? I&Ndefensible we say! So, for you completists, here it is: our Top 5 books of January. Coming soon: our Top 5 of Feb! And March! (We swear!)

5. The Multiversity: Guidebook #1 (DC): Grant Morrison takes the unwieldy mess that is the DC multiverse and turns it into a strength; a rich tapestry, (illustrated by an impressive bevy of artists) at once alien and familiar, ripe with possibility. He not only accomplishes the herculean feat of making sense of it all, he tells one barn burner of a story while doing it. His expansive view seemingly embraces everything, the odder and more trivial the better. I don’t what DC has planned after its next clearing of the decks, but it could do a lot worse than using this as its Guidebook. (DM)

The Multiversity: Guidebook #1

4. Lady Killer #1 (Dark Horse): “Top 5 Books of January calling!” Wow! What a killer debut from Joëlle Jones and Jamie S. Rich! As evidenced by the cover–a kitchen done up in classic post-war abattoir–they’re mopping the floor with genre tropes and gender notes, the highest being Josie, of course, their Bride of Fifties-stein, who is June Cleaver living up to her name, that’s for sure! She’s one tough mother–one who’s not afraid to use her assets to get the job done. It’s the nature of the assassin–and of clever creators–to play a game of cat and mouse with her prey, isn’t it? Consider the final page, fellow readers: we are most assuredly the mice. (SC)

Lady Killer #1

3. Wild’s End #5 (BOOM!): Abnett and Culbard’s Wild’s End–our #9 book of 2014–has been about as perfect as a book can be after five issues. In this installment, the stakes are wildly high, what with the killer lamppost lighting around and lighting up our motley zoo crew, who, all along, keep–relatively–calm and carry on as well as they can with a six-legged, extraterrestrial death ray on their tails. Love the ribbon tied to the end of the issue: revealing the irrepressible Ms. Peardew’s written account of the big adventure and her pretty assertive assessment of Lewis Cornfelt. With its tentacles 100% wrapped around me, if Wild’s End were the only fiction left in the world, I’d be quite satisfied. (SC)

Wild’s End #5

2. Silver Surfer #8 (Marvel): Fresh off their claiming the #4 spot on our Top Ten Books of 2014, Dan Slott and Mike Allred offer up a grave planet of survivors–each the last of his or her or its species–and a tidal wave of guilt upon which the former herald of Galactus rides, leaving a wake of cosmic energy that leads the Devourer of Worlds to perhaps his most satisfying meal yet. It’s a brilliant premise that brings together a universe of victims and pulls apart our otherwise perfect pair, the Surfer and Dawn Greenwood, as emotionally affective individually as when side by side–and, in a very fun moment, with Dawn at the wheel for the first time, “Ha ha ha!”–they ride the temperamental Toomie. What’s that? You’re right: When it comes to superhero books, there is none higher, and #8 is further proof. (SC)

Silver Surfer #8

1. Mind MGMT #30 (Dark Horse): In one fell swoop Matt Kindt takes everything you knew about this title and turns it on its head. He gathers up threads from earlier issues and ties them together with a revelation that changes the perspective of the entire series. Not content with that, he tells the modern-day story as though it were a pulp sci-fi novel of the 1960s. The meta conceit however is merely a filter for the viewpoint of the narrator, one that makes total sense given her past. Furthermore this narrator, through the use of the (always challenging to pull off) second person, becomes “you.” Confused yet? Perhaps the biggest miracle in this is that Kindt doesn’t lose you, even for a second. A masterpiece. (DM)

Mind MGMT #30

The Biggest Dis(appointment):Loki: Agent of Asgard #10 (Marvel) – What could have been just another movie franchise tie-in, turned out, in the early going, to be remarkably entertaining due to Al Ewing’s witty, exuberant writing. Alas, just as Loki himself seems unable to escape his destiny, this book was unable to steer clear of getting embroiled in a “Big Event.” Since then the jocularity has been drained of this once surprising title, its imaginative gold spun into cumbersome lead. (DM)

Last week had me Wow-ing more per book than any week in the recent past. Here’s the near future:

Mister X: Razed #2 (Dark Horse) I&N Demand No surprise here: we loved #1. It easily fell into our Top 5 Books of February, the result of the tasty termites and the hungry peregrine pigeons, which, of course, is Christmas come a bit late, you know, in the perfectly-wrapped gift of Dean Motter’s icicle-sharp storytelling. (Deep breath.) It’s everything we loved about Mr. X: Eviction, which was just as easily our #1 Book of 2013. Don’t remember why? Remind yourself.

Mister X: Razed #2

PastAways #1 (Dark Horse) Just I&N With his nonpareil Mind MGMT in its stretch run, main man Matt Kindt takes aim–along with artist Scott Kolins–at a fresh future with PastAways, the latest–and most assuredly not the last–entry in the suddenly supersaturated–and not-so-fresh–time-traveling-team market. Yeah, but it doesn’t matter if it’s good, right?

PastAways #1

The Multiversity: Ultra Comics #1 (DC): Re: Mastermen: Morrison and Lee bowled me over with their opening “splash” page–light a match, Adolph! I mean, c’mon: Hitler on the can, reading Superman? Hey, why Nazi? They played it for a laugh–and got it!–and forged a connection between the Führer and me. I was like, that’s what I look like when I’m reading during “Daddy Time,” you know, just without the mustache and the swastika. Yeah, otherwise, pretty spot on. After that, the rest of the book played out well–despite Lee’s pin-up-per-panel approach, which robs the story–artistically, anyway–of any momentum. Not the best single Multiversity issue, but still plenty metafun. This month, Morrison and Mahnke promise to make me “an integral part of the resistance.” Can’t resist that!

The Autumnlands: Tooth & Claw #5 (Image) I&N Demand Pretty great all around. Sure, while Busiek’s been busy building this remarkably engaging world, Astro City‘s suffered a bit. (The Quarrel arc is arguably the weakest multi-issue story since our return to the City.) But that’s all right–especially now that the game is a(Good)foot.

The Autumnlands: Tooth & Claw #5

They’re Not Like Us #4 (Image): They may not be like them, but concerns are rising: we’re three issues in and some of what’s going on is a lot like some of what’s already gone on. Still love the design, though; love getting right to it! And still hanging on the promise made at the end of #1.

Daredevil #14 (Marvel): Ooh, ooh! A Shroud of secrecy! Yeah, that pretty much made it all worth it. As Waid and Samnee are making their way to the end of their run, I can’t help but think about Matt’s exes and wonder: what’s gonna happen to Kirsten? I’m leaning toward this one breaking the mold.

Uncanny X-Men #32 (Marvel): Eva’s conversation with Scott left me feeling like I did after Snyder’s Harper Row lit into Batman (in the regrettable Batman #18). That’s not a good thing. Oh, and so, as it all works out, it’s like nothing ever happened, which is always gratifying. Love that. Oh, oh, and maybe the once and future leader of the X-Men isn’t so far from his grand return. Ugh! I hate all the secrets and the wars that rage as a result of them!

The Black Hood #2 (Archie): I was surprised by how much I liked the first one. What sold it: the last page. As cheesy as it was, it felt authentic, heroic. I needed that. Great stuff from Gaydos.

The Bunker #10 (Oni): I’m feeling somewhat disconnected from The Bunker at this point. If it were released on a more regular basis…

Hit: 1957 #1 (BOOM!): I was surprised that Hit earned a Harvey nomination because it wasn’t great. Sure, it hit the right notes at the start–and at its soul was something to celebrate; but it didn’t come together well, as evidenced by the unremarkable end. I’ll thumb through to see if Del Rey’s art is enough of a draw to warrant a try. Otherwise, I’m going to pass.

Mono #4 (Titan): Through three now, I’m kinda feeling like I did after the summer after I graduated from high school–you know, after saying hi and goodbye to four different girls before leaving for college, and after learning that I had a case of mono, one bad enough to keep me home for what would’ve been my first semester at Penn State. Just like that, actually.

Quantum and Woody Must Die #3 (Valiant): Funny, funny, funny!

The Sixth Gun #47 (Oni): The stack grows.

The Valiant #4 (Valiant): #3 didn’t hit me like #2 did. Resulted in a bit of a letdown, especially as the entirety of the Valiant Universe gets further mired in Lemire’s return to Rotworld.

The Twilight Zone: Shadow and Substance #3 (Dynamite): The first two-issue arc didn’t live up to Straczynski’s standard–but how could it? I’m probably going to pass.

We Can Never Go Home #1 (Black Mask): I haven’t like much of what I’ve tried from Black Mask. This one sounds interesting enough. I’ll thumb through to be fair.

Avery’s Picks of the Week

My Little Pony: Friendship Is Magic #29 (IDW): My wife just came home from Stop & Shop with eight more Pony blind bags. Thanks a lot DCTC! We’re drowning in Ponies over here–new ones and duplicates! I think we have three Pursey Pinks, for crying out loud!

Abigail and The Snowman #4 (BOOM!): My daughter’s dug it plenty–even if the Snowman is more Bumble than Olaf.

This was one stacked month of comics. Consider: our #1 book from last month (Silver Surfer), despite another strong outing, didn’t crack the Top 5 this time out. Also, only one of the titles below has been featured on our hallowed list before (having been, at different times, praised and damned – see below). This speaks to the veritable title wave of new, quality work being produced in this, the New Golden Age of Comics.

#5. Bodies #1 (DC/Vertigo): Brit scribe Si Spencer–whose ambition is clearly as vaulting as a well-known Shakespearean Thane-in-the-neck–has brazenly pieced together a primo pastiche of disparate eras and artists–including a Murderers’ Row of Meghan Hetrick, Dean Ormston, Tula Lotay, and Phil Winslade–and in doing so has Doyle-d up a Holmes-ian mystery multiplied by four. Sure, the transitions from one time period to the next are as harsh as a head on collision, but it’s entirely understandable because so is the seemingly singular homicide that links one Longharvest Lane crime scene to the next. Lee Loughridge’s colors, too, help to both draw a distinction and create a connection among the settings, the latter established by his use of a clichéd shade of red, which is hinted at by the blood splatter on Fiona Stephenson’s vintage–and ironically vivacious–cover. Bodies #1 is a killer first issue that executes an experimental exposition that could’ve easily succumbed to redundancy, but instead rises effortlessly to the level of required reading. (SC)

Bodies #1

#4. Cap’n Dinosaur (one-shot) (Image): MORE! FUN! COMICS! Cap’n Dinosaur is just what any jaded comic book reader needs: sublime silliness distilled through a love of classic super hero tropes. A synopsis of the plot would be futile, and pointless besides (just take a gander at the cover!) Suffice it to say that writer Kek-W and artist Shaky Kane have cooked up a kooky confection of pure comic-y goodness. Kane’s absurdist Silver-Age aesthetic seems to bring out the best in his collaborators (as evidenced by another recent Image one-shot, That’s Because You’re a Robot, with writer David Quantick – also worth a look). In particular, Kane seems to inspire writers to release their buried id in order to keep up with his lunatic visions, in much the same way that Mike Allred does. In fact, with his timeless, retro style, anarchic non-sequiturs and surreal approach to pop culture, I’d say that if Mike Allred and (comic genius) Michael Kupperman had a baby, it would be Shaky Kane. So I guess what I’m saying is: Mike Allred and Michael Kupperman should have babies….Oh, just buy this book! (DM)

Cap’n Dinosaur

#3. Thomas Alsop #2 (BOOM!): The Mage. The Mystic. That mysterious Master of the Dark Arts, guarding the thin veil that protects our reality from the nefarious nether-worlds. Such figures have constituted their own archetype in comics since at least Mandrake the Magician. Curious then, that they have been underrepresented in the current comics scene since the demise of the venerated Hellblazer (What’s that you say? There’s a comic called Constantine featuring the same character? Sorry, never heard of it.) Poised to step into those considerable loafers is one Thomas Alsop. And by “step” I mean “stagger, covered in his own vomit.” Conjured from the aether by writer Chris Miskiewicz and artist Palle Schmidt, the titular magician (and voracious abuser of all sorts of substances), possesses a nice insouciance, equal parts debounair and depraved, that provides a necessary (gin and) tonic to the severity of the grave matters at hand (all puns and in-jokes are very much intended). Calling himself a “Supernatural Detective”, he shills his skills on his own reality television show (what else?). This however, is largely a cover (albeit one that pays handsomely) for his more serious work as protector of New York City. But that is not all the creators have up their sleeves; adding complexity is the story of Thomas’ ancestor Richard, the first magical protector of New York, and the dark secret that links past and present. And more still: this being very much a tale of New York, Miskiewicz has, very bravely I think, interwoven the 9/11 tragedy into his story. No small risk that, especially amidst all the fun and games. But he and Schmidt have, so far, accorded it the respectful tone it requires. All in all, this brew, seemingly light and frothy, is a lot more heady than at first it seems. Another round! (DM)

Thomas Alsop #2

#2. Life With Archie#36 (Archie): Paul Kupperberg and Co.’s chocolate soda brought all the boys and girls–including yours truly–to the comic shop, and damn right it’s better than than all but one of July’s releases. Yeah, this book–with the help of mainstream media coverage–absolutely blew up. And I–like many other non-Archie readers–was caught in the blast radius; so even though I hadn’t touched as much as an Archie Comics Digest in 30-plus years, I just had to have it! Mind you, this was no ordinary ordinance; this was a nostalgia bomb–one that made me feel welcome in Riverdale despite my being, for all intents and purposes, a complete stranger.

Writer Kupperberg and artists Pat and Tim Kennedy (pencils), Jim Amash (inks), and Glenn Whitmore (colors) put Archie on a path through his past, present, and future–in a lead up to the not-so-shock ending–and as I followed I was struck by just how good Archie is; in, fact, he’s not unlike Superman in his Boy Scout-ish goodness. In the end, however, he is simply a man: he can’t fly or see through walls; he’s not bulletproof; and his sacrifice leaves us all lamenting the death of that perfect innocence embodied by Archie Andrews–which is made more affective not by the amount of blood about Archie’s body but by the final image of a chocolate soda with three straws having been knocked over during the fracas, its figurative innocence–established on a playful first page–left to melt and spill to the floor.

More that that, really, I was surprised by how good the journey through Archie’s life made me feel. Gosh, it made me wish more than once that we could all be Archies and Jugheads and Bettys and Veronicas–that all joy could be shared and problems solved over a chocolate soda with three straws. What a world it’d be! It was an experience I did not expect. I had initially planned to thumb through the thing and stick it in a bag. Who knew that “every bit of it [would] just [feel] like home”? (SC)

Life With Archie #36

#1. Zero #9 (Image): Sonuvabitch. As you might have surmised, we here at I&N read a LOT of comics. With so much new product coming out each month, we not only have to decide which titles are worth our time, but also which titles are no longer cutting the mustard. Zero, Ales Kot’s minimalist gut-punch of a spy thriller, in particular has been quite the roller coaster ride, and not always in a good way. After naming it one of our Top Ten Books of 2013 for its innovation and unpredictability, it promptly took a nosedive, as unpredictability gave way to incoherence. In fact, it was only a couple of months ago that the previous issue (#8) was named our Biggest Dis(appointment) of the month. So yeah, this book was on the chopping block.

And then Kot does this. Set in the midst of the Bosnian War, Zero #9 tells a tale from Roman Zizek’s past. Zizek is Zero’s mentor, an American black ops agent, and a war profiteer. Unsurprisingly, he’s a double-dealer of the first order. Already knee-deep in subterfuge and complicit in some of the worst atrocity in recent history, he also has a Bosnian girlfriend who is pregnant, victimized by the war. And things go from there.

Artist Tonci Zonjic deserves special mention as his storytelling manages to be atmospheric, clean, and cartoony (in the classic sense), perfectly setting the tone with a style reminiscent of early Mazzuchelli. And Jordie Bellaire’s muted hues, perfectly navigating between harsh reality and precious memory, are, as always, flawless.

A cursory look at the news will tell you that the world is rife with new, terrible things happening every day. So much so, that the horrors of even the recent past quickly get buried. Rare is the comic that can successfully mine such tragic events for its own fictive purposes, while also shining a light on those so easily forgotten or ignored (Joshua Dysart’s Unknown Soldiercomes to mind). Rarer still, one that can do so with such spare, awful beauty. With this issue, Kot and Co. have not only banished any thought of dropping this vital book; they’ve produced one of the most powerful, resonant stories of the year. (DM)

Zero #9

The Biggest Dis(appointment): Robin Rises: Omega #1 (DC): I’ve been pretty vocal in my support of Peter J. Tomasi’s Batman and Whoever, especially in light of its being overshadowed by the over-hyped and underwhelming Snyder books. (I even told Mr. Tomasi as much when I met him at the 2013 NYCC. He seemed mildly appreciative.) Tomasi did a commendable job of following in Grant Morrison’s footsteps, when it seemed that others had no use for them–until now, that is. Ah, and therein lies the disappointment. This book, which starts off well enough with a Damien-Robin retrospective, descends into a chaotic disaster of day-old dialogue and stumbles–despite some solid work from Andy Kubert, Jonathan Glapion, and Brad Anderson–into a terminally anemic battle scene–an epic game of casket keep away–that only ends because it eventually reaches its $4.99 price-point page limit. To make matters worse, it turns out that Batman’s going to have to go BOOM! if he wants to get Robin back; that’s right: he’s headed to DC’s dark side–and, boy, I’d punch Tomasi in his pursed Mother-Boxing Apokolips if I were to ever see him again for going so against the Wayne with his choice of settings for the next rung on the way toward Robin’s return. (Heck, whom am I fooling? I’d probably say, “Hey, Mr. Tomasi! Love your work! I can’t wait to see what you have in store for…Superman/Wonder Woman!” And he’d probably be mildly appreciative.) The New God-darned piece of shard is so distressingly disappointing that I’m seriously considering giving up entirely on Batman and Robin–no, seriously–which would leave me Bat-less for the first time since I jumped into The New 52. Well, there’s always Moon Knight…(SC)

The Massive #25 (Dark Horse): Since February, The Massive has been an I&N monthly Top 5 Book. That’s a record five months in a row! On the strength of that, I think it’s safe to say that Brian Wood’s book is headed for the Top Ten of 2014. For the most part, “Sahara” delivered its powerful feminist message in the understated manner–Women! Water! Life!–we’ve come to expect from Wood. (If I’m being fair, Part Three felt a bit preachy at times, but not to the detriment of the issue or of the arc.) The final arc–with its promise of Massive answers–begins here.

Veil #4 (Dark Horse): Has been somewhat disappointing–the last issue, in particular. I’m not caring too much about the femme ratale. There’s something all too familiar about her. Fejzula’s art’s been good, though. I’m riding it out because it’s a fiver.

East of West #14 (Image): Has been North of Excellent. Hickman and Dragotta certainly took their time building a big world–which is Hickman’s bag, ain’t it?; oh, but they’ve been hitting big–no, really big notes of late. (#12, in particular, was ridiculously good.) A dark robot horse for my personal pick for the Top Ten of 2014.

Fatale #24 (Image): Lots of love for the poetic penultimate issue. I thought it was spectacular, really–visually (different for Phillips on Fatale that’s for sure) and in terms of revelations. Brubaker went Big Bang, man. As I’m remembering, I’m still kinda affected by the whole thing with Josephine’s son. Creepy as hell, but, in the end, necessary, no? Speaking of the end: this is the femme finale–and I have no doubt: “It’s going to hurt.” Yeah, it’s going to be tough to say goodbye to one of our favorite books.

Fatale #24

Low #1 (Image): I couldn’t be any lower on a creator than I am on Remender. Why would I do this to myself??

Outcast #2 (Image): “Demons are the new zombies,” eh? The first issue was a decent set up. It’s no Thomas Alsop, that’s for sure; but I’ll give it a few, you know, to see where it goes. (If you’re not reading Thomas Alsop from BOOM! yet, get on that. You won’t be disappointed.)

Hawkeye #19 (Marvel): Listen up! Apparently, it’s taken Aja a long time to master the art of sign language for this issue. That’s right: try to remember–or I’ll remind: Clint’s gone deaf. So…

Hawkeye #19

Uncanny X-Men #24 (Marvel): I missed the last issue. As a result, I have no idea what secrets Xavier’s will revealed. Now that’s a sin!

#5. Astro City #11 (DC/Vertigo): A quick perusal of our past Top 5 lists will tell you that we’re generally not the biggest fans of superhero fare. Oh sure, we have a soft spot in our hearts for the cape and costume set; they were after all our gateway drug into the wider world of comics. But with such a bevy of quality non-superhero books inhabiting the current comics landscape (it really is a golden age folks), why waste our time on the cynical merry-go-round of movie tie-ins, Big Events and the never-ending, never-changing battle? Even worse are those titles which claim to be edgy by adding some nominally ‘mature’ wrinkle to the works: ‘superheroes who swear!’ ‘superheroes who have sex! (full frontal!)’ or some other such trope that was well-worn by Watchmen nearly thirty years ago. It takes something far less gimmicky to add something new to the genre (and that’s what superheroes are, fanboys; not mainstream but a genre).

Luckily, in Astro City, Kurt Busiek and Brent Eric Anderson have managed just that. Nearly a year into the title’s return after an extended hiatus, Busiek and Co. remind us of their mastery of the eye-level approach to the fantastic. This time out centers around a personal assistant, the type of capable multi-tasker who’s invisible to the public and indispensable to her boss. But of course in this case, her boss is a superhero. Like many in her profession, her duties include, but are not limited to: answering mail, keeping track of finances, scheduling appointments, etc. But because her boss is a mystical Dr. Strange type, a missed appointment can mean placating interdimensional gods who threaten our world with annihilation for their inconvenience. The story is an ode to all of the unsung, behind-the-scenes supporting players who, through sheer competence, organization and the ability to keep a cool head, keep the world running, day in, day out. The pleasure comes from watching our harried-but-never-overwhelmed protagonist put out fires, ranging from the mundane to the apocalyptic, with nothing more than a well-placed phone call or a sift through her files. That, and the loving, sideways homage Busiek and Anderson have crafted to some of the stranger Silver Age forays of Kirby, Ditko, Lee, Thomas, et al. To paraphrase, there are a million stories in Astro City. This is one of the best. (DM)

Astro City #11

#4. Silver Surfer #2 (Marvel): What goes on here? Two superhero books from the Big Two crack our Top 5? Well yes, when one of them is drawn by the inimitable Mike Allred. His wild, Pop Art aesthetic (enhanced by the bold hues of wife Laura Allred) immediately brings the fun to any book it graces. And Dan Slott scripts a tale to match involving intergalactic hucksters (‘the Incredulous Zed’) extra-dimensional god-constructs (‘The Queen of Nevers’) and sensitive Plorpian digestive systems. Not to mention the true protagonist of the story, one ‘Dawn Greenwood’ of Anchor Bay, Massachusetts. Appropriately titled “Everything And All At Once”, the story owes less to typically constrictive superhero dynamics, and more to the expansive exuberance of the likes of Douglas Adams and Terry Pratchett (despite our American creators, there is something distinctly British about the proceedings; a compliment, naturally.) In other words, if you’re looking for a rollicking good sci-fi bender of a time (and why wouldn’t you be?), you could do a lot worse than Silver Surfer. (DM)

Silver Surfer #2

#3. Lazarus #8 (Image): Greg Rucka and Michael Lark are on quite a run: this is the third month in a row that we’re celebrating Lazarus as a top book. (It’s true: check out what we had to say about the patient perfection of #6 and #7!) What’s keeping the book pegged to the big board issue after issue? It’s the storytelling. The fellas have forged themselves a winning formula–one that’s made all the more impressive by the fact that in no way does it feel like they’re going through the motions; no, they’re keeping it fresh as can be, once again to purpose employing parallelism to amplify further the conflict, which has been an eager flame burning its way through a long fuse to an explosive effect without any bombs going off–at least not quite yet, anyway. This installment of the 2014 Innie nominee for Best Ongoing Series is once again built upon a foundation of the early days of Forever. In this case, Forever fails to live up to expectations and misses out on a meeting–on her birthday, no less!–with her frustrated father, who leaves a very significant gift behind: White’s The Once and Future King, an insinuation that speaks to Forever’s growth and purpose–and, in that, to Rucka’s inspiration for the series. This significant sequence comes back around when present Forever finds herself in an ethical bind, knot courtesy of a catty Daddy Carlyle, over the impending terrorist attack in Denver. Oh, the road to Denver is paved with good intentions, innit? Doing most of the paving: Michael Barret and Casey, who, while on their way to the Lift Selection, are willing to offer up a hand to their fellow travelers, including, at the very end, an Angel of Death. It’s all coming to a head, folks; and the book–and we–couldn’t be in better hands. (SC)

Lazarus #8

#2. Southern Bastards #1 (Image): Oh. Shit. Jason Aaron and Jason Latour have made quite a splash with their merciless ode to good ol’ boys. Now, I’m predisposed to liking it because of its being not unlike Justified, with its Southern-fried setting and tone, and even its well-defined yet ambiguous cast of characters, smacking of the late, great Elmore Leonard, and, in that, the often late, great Garth Ennis–which makes even more sense considering that it also reads a hell of a lot like Fury: My War Gone By and Mark Millar’s Starlight because of the big notes of nostalgia and, tying it all together, because Latour’s Earl is plenty Parlovian. The story’s solid from the get-go: Jason Squared pitches the prodigal son’s return and expertly upsells pathos as the conflict grows–just as a tree grows from Earl’s father’s grave–into the final sequence, itself a grueling duel of duels–a one-two combination (punishing blows received and delivered) of violent events enlivened by the lyrical layouts–that cements this debut as a top book of the month; it’s the love shown by the creators for the South and the story inspired by it that makes it even more than that. (SC)

Southern Bastards #1

#1. The Massive #22 (Dark Horse): Thus far, Brian Wood’s apocalyptic take on Moby Dick has focused on one Callum Israel, whose Ahab-like obsession with finding his eponymous ship has led him to the far corners of a world that is slowly falling apart due to a mysterious event known as The Crash. The search has allowed Wood to explore in convincing detail (with the help of an impressive cadre of artists; here Danijel Zezelj does the honors, with Jordie Bellaire on colors) the effects of environmental devastation, economic collapse, and political disintegration in such disparate locales as Iceland, Hong Kong and Mogadishu. The sheer breadth of Wood’s geopolitical knowledge and inquiry is impressive. It also pulls off the neat trick of serving as both the series’ raison d’etre and narrative backdrop to its central mysteries: Where is the Massive? What caused The Crash?

Just as the answers have eluded the increasingly obsessive Callum (did I mention he was dying of cancer?), Wood’s writing has sometimes been frustratingly vague. Many of the arcs (all consisting of three issues) have run like this: fascinating set-up, high stakes climax, baffling denouement. While there’s something to be said for not giving the reader what they want, the considerable tension inherent in the story has sometimes been undercut by endings that seem deliberately anticlimactic, and even obtuse. Well the first issue of the latest arc, “Sahara”, finally promises some resolution, beginning with the one to the other great mystery: Where the hell has Mary been?

Mary, Callum’s lover, shipmate, and conscience of his crew, seemingly abandoned him in his time of greatest need. This issue finds her, in typical Wood fashion, smack dab in the middle of a geopolitical intrigue with real-world resonance. She’s guarding a convoy of the world’s most precious post-Crash resource: water. As the spotlight shifts to her, we begin to realize what Wood has been hinting at all along: the search for the Massive is a MacGuffin. All mysteries lead to Mary. By turns the most compassionate and the most remote, she has quietly taken on an otherworldly dimension. As we watch Mary cross the desert, now with child, one cannot help but think that as the series builds to its conclusion, Wood is countering the obsession and despair of the white whale with an almost biblical hope for salvation. (DM)

The Massive #22

The Biggest Dis(appointment): Mind MGMT #21 (Dark Horse): To truly understand this choice, you have to understand that disappointment comes from expectations not being met–and in some cases, from expectations being bitch slapped by promises unfulfilled. In this case, we were led to believe that master storyteller Matt Kindt was going to deliver a “silent issue”; and if you we’re like me, you thought immediately to the silent issue of all silent issues: G.I. Joe #21 from Larry Hama and Steve Leialoha, which blew our minds thirty years ago–yikes! With the poison–the potent neurotoxin nostalgia–already in the wound, what chance did this stab at a silent issue have–especially after our being rudely welcomed by word one! Wouldn’t you know: Kindt–ever the clever creator–was playing us from the promise! His interpretation of silent: no dialogue–which means that thoughts are fair game; and to make the game more fun, those thoughts were insightful, sure, but sometimes ironic, considering the situations in which the thoughts were, umm, thought. So, fine, it’s “silent,” I’ll buy it–and I did buy it, blissfully ignorant and high on hope; however, while the story works well within the world of Mind MGMT, Kindt has managed to both exploit and execute my innocent expectations. The former finds me somewhat satisfied, but it’s the latter than leaves me mostly nonplussed–and this issue as our Biggest Dis(appointment) of the month. (SC)

Justice League United #1 (DC): #0 didn’t grab me in any way, but I’m going to give it another shot anyway. Jeff Lemire’s earned that–though not so much with his hero books. While Animal Man started off well enough–and we said as much by making it one of our top books of 2012–it kind of lost its way during and after the “Rotworld” crossover with Swamp Thing and never lived up to its promise. His run on Justice League Dark wasn’t spectacular; and I couldn’t get past the second issue of his current–and surprisingly well-regarded–run on Green Arrow. Trillium was mostly a success, highlighted by some terrific visual storytelling. The story itself–well, not so much: I really wanted to connect to the characters and their plight but, alas, found that I could not. Come to think of it, we did celebrate his Frankenstein: Agent of S.H.A.D.E.–and rightfully so; it was pretty terrific. We’ll see what happens here. Expectations aren’t very high.

Royals: Masters of War #4 (DC/Vertigo): Has been OK. #3 was definitely better than an impatiently paced #2, that’s for sure. Feels like the overly coddled child of Montynero and Michael Dowling’s Death Sentence and Kieron Gillen and Canaan White’s Uber. Doesn’t quite live up to either.

Shutter #2 (Image): Leaning toward passing mainly because there wasn’t much about #1 that I liked. In fact, I hated the ending. I’ll flip through this one just to be fair.

Starlight #3 (Image): The series has been very good. #1 was great. #2 was a decent follow-up. The most remarkable quality of the series thus far? It’s been on time! Hey, is this really a Mark Millar book? Love, love, love Goran Parlov’s art, which transports me back–not too far back, mind you–to the fabulous Fury: My War Gone By, which was one of our top books of 2013and has been nominated for the 2014 Innie for Best Limited Series. So, perhaps I’m predisposed to liking this series for that reason. Could also be that I’m predisposed to liking well-written stories that deliver sentimentality with a tender hand. Millar has certainly done that with Starlight–so far, anyway.

Starlight #3

Stray Bullets: Killers #3 (Image): A transcendent #1 was followed by a mediocre #2. Here’s hoping that this one returns to form–the form we’ve come to expect from David Lapham.

Stray Bullets: Killers #3

All-New X-Men #27 (Marvel): The scene that brought together Jean and present-day Cyclops was an effective one–one of the best of the series. It’s those little flashes of Bendis brilliance that keep me coming back for more.

Quantum and Woody #10 (Valiant): Continues to be a lot of fun. How’s this for a comparison: it’s the Rat Queens of the Valiant Universe, just, you know, done up a tad more tastefully–if that’s even possible.

Uber #13 (Avatar): Finally read #11. (A pull list problem, if you must know.) It was the best single issue of the series and has reignited my excitement in what Gillen’s doing with his twist on WWII.

Veil #3 (Dark Horse): The ante has been upped–and so has my interest in the book. It ain’t Lazarus, folks, but it ain’t bad: Greg Rucka’s going full Fatale, and Toni Fejzula’s art is pretty striking.

Veil #3

Astro City #12 (DC/Vertigo): The follow-up to a terrific #11, which you’ll see highlighted in a celebratory post in the not-so-distant future.

Batman Eternal #5 (DC): Into my second month of Gotham-centered gobbledygook. #4 offered up plenty of reasons to jump off–including an awful conversation between Batman and Batgirl. I mean, who talks like that?

The Wake #8 (DC/Vertigo): Ah, a rare double dose of Scott Snyder. I was disappointed with #7: it didn’t quite sell what #6 so emphatically offered. By and by, I buy.

Clone #16 (Image): #15 is a bit lost on me, but that’s OK; Clone‘s been a fun ride.

Fatale #22 (Image): No surprise here: Fatale has been nominated for an Innie in the Best Ongoing Series category! #21 didn’t quite capture the same magic as #20–our #2 book of February–but is was still pretty darned good. Hey: Brubaker and Phillips are competing against themselves–the ridiculously high standard they’ve set for themselves over the life of this brilliant book. Hmm… Would that be a fatal strength?

Fatale #22

Nailbiter #1 (Image): I haven’t been taken by anything I’ve read from Joshua Williamson. But I’ll take this one home, thank you very much. It’s a #1 thing.

Satellite Sam #8 (Image): Hawkeye is very good. Sex Criminals is more overrated than x-rated. Satellite Sam, however, is proving to be Fraction’s flagship. Doesn’t hurt that Howard Chaykin’s black and white art is out of this world.

Cyclops #1 (Marvel): Greg Rucka–nominated for an Innie in the Best Writer category for his work on Lazarus–returns to the hot half of the Big Two and takes on one of my all-time favorite characters. Even though we’re going to be spinning ’round in space, I’m still pretty psyched.

Cyclops #1

Iron Fist: The Living Weapon #2 (Marvel): Writer/artist Kaare Andrews impressed with an engaging #1. Highlight: his building of Danny’s backstory. Let’s see what he does with Danny’s frontstory.

Loki: Agent of Asgard #4 (Marvel): Al Ewing’s having fun and so am I; so I’m still buying.

Magneto #3 (Marvel): I really liked what Cullen Bunn did in #2: he crafted a tight, emotionally affecting story from the past and cradled it expertly with a tense present.

Magneto #3

Miracleman #5 (Marvel): So, so good. What have we learned after four issues? Alan Moore’s the real Miracleman.

Moon Knight #3 (Marvel): Warren Ellis and Declan Shalvey delivered a kill-shot–one after another–with #2. If you–yeah, you–didn’t pick it up, do yourself a favor and grab it and #3 while you’re at it.

Caliban #2 (Avatar): The first one was good enough to give this one a go. Liked it more than I liked Pariah and the space side of Letter 44, if that tells you anything. I’m not too sure that tells me anything.

The Sixth Gun #40 (Oni Press): As solid–and consistent–an ongoing as you’re bound to find. That’s right: no peaks and valleys here: Bunn and Hurtt are brilliant from one issue to the next.

The Woods #1 (BOOM!): James Tynion IV goes original with some otherworldly horror. Talk about field trips!

The Massive #22 (Dark Horse): Brian Wood and Danijel Zezelj follow up the very strong “Bloc” arc–which earned Wood and Garry Brown I&N top book status for February and March–with “Sahara,” which promises to slake our thirst for more Mary.

The Massive #22

Mind MGMT #21 (Dark Horse): Those of you who have been following our little blog for a while may have been surprised to see that #20 didn’t crack our Top 5 Books of March. Believe me: after hashing out the list, we were pretty surprised, too! Matt Kindt certainly didn’t disappoint: he drew out an issue highlighting a giant of Mind MGMT past, and did so using tall panels to accentuate, well, the agent’s giantness. Super clever–and, more important, super effective! Kindt’s artistic approach often results in impossibly long-limbed figures; #20 acts, then, as an ectomorphic celebration! This new offering promises to be a silent issue, which, in Kindt’s capable hands, promises to say plenty, as his art often tells most of the story anyway. On a nostalgic note: when I think “silent issue,” like you, I go right to G.I Joe #21. I also think of Martin Wagner’s Hepcats because, if memory serves, there was a stunning silent issue that focused on child abuse. Does anyone remember that?

Mind MGMT #21

Batman Eternal #3 (DC): So, I gave #2 a shot despite my not being excited about #1. Wasn’t much of an improvement. Some storytelling yips persist–including the agonizing, issue-long reveal of the antagonist; and the dialogue’s nothing to talk about. And that said, I’ll probably pick this up.

Dead Boy Detectives #5 (DC/Vertigo): Still like the vibe and the possibilities.

Justice League United #0 (DC): Lemire on a hero book doesn’t excite, but I’m going to try it nevertheless.

Lazarus #8 (Image): Like The Massive, Lazarus has been one of our top books for February and March. Can’t help but think of Ginsberg’s “Howl” because that’s what I think of when I think of Denver: “who journeyed to Denver, who died in Denver, who came back to Denver & waited in vain, who watched over Denver & brooded & loned in Denver and finally went away to find out the Time, & now Denver is lonesome for her heroes.” Well, that and Dave Loggins’ “Please, Come to Boston.”

Lazarus #8

The Manhattan Projects #20 (Image): #19 was a tad frivolous–I mean, did we really need to see the Oppenheimer civil war? The end presented an interesting twist, however. Oh, I’m definitely down with dueling Einsteins.

Sheltered #8 (Image): Has become a bit “is what it is,” hasn’t it?

Zero #7 (Image): We liked #1-#4 enough to celebrate Kot’s baby as a top title of 2013. #5 was OK, although the idea of aliens being thrust into the mix wasn’t all that thrilling. #6 wasn’t very good at all–writing-wise or art-wise. Yeah, unfortunately, we weren’t blown away by Vanesa Del Rey’s work, which was tough to follow at times. Expectations have fallen to just about, well, zero.

Daredevil #2 (Marvel): The reboot/relaunch/rewhatever was underwhelming. I kinda dig the whole devil out of water device; but outside of that, #1 wasn’t much of anything, really.

Elektra#1 (Marvel): I’ve been an Elektra junkie forever. I’m interested in seeing how half of the former Batwoman writing duo–W. Haden Blackman–handles the deadly sairen.

Elektra #1

The Bunker #3 (Oni Press): Has been very good. Fialkov’s handling the time-travel aspect as if it isn’t an obstacle to the storytelling process, when, in fact, it’s like skipping through a minefield. Impressive, indeed!

Evil Empire #2 (BOOM!): #1 ended on a sharp note, that’s for sure. We’ll see if Bemis and Getty can keep the momentum going.

Evil Empire #2

Harbinger #22 (Valiant): Recently read that Harbinger‘s ending as of #25. A bit of a bummer, sure, but it does lighten the load without my having to be the one to make the dreaded decision.

Letter 44 #6 (Oni Press): I was planning on dropping it, but with this being the arc ender and all…

The Midas Flesh #5 (BOOM!): About as much fun as you’re bound to have with a finger. #4 suffered a bit from some strained development; but overall the series has been really good.

The Massive #21 (Dark Horse): #20 was one of our Top Five Books of February–and deservedly so. Brian Wood and Garry Brown have hit all the right notes leading up to this arc ender–a real “Bloc” buster!

Mind MGMT #20 (Dark Horse): It might seem as if we’re getting paid to say so, but, no, it’s just true: #19 was our #1 book of February. That’s back-to-back top spots! And let’s not forget that #17 was our top single issue of 2013! Innovation has been at the heart of our celebration; in that, we can’t wait to see what Matt Kindt has come up with this time around.

Dead Boy Detectives #4 (DC/Vertigo): So very Vertigo, isn’t it? Has hooked me much in the same way John Ney Rieber hooked me with The Books of Magic ongoing back in the day. I love how the three narrative voices come together–kind of like the comic book version of Peter, Paul, and Mary.

Dead Boy Detectives #4

The Sandman: Overture #2 (DC/Vertigo): I’m already over its being overdue. I’m not much of a Gaimanite. It’s all about J.H. Williams for me. His art is always welcome in my bag.

The Wake #7 (DC/Vertigo): Can’t say that I understand the celebratory waves left in the wake of the first five issues. But what I can say with certainty is that I liked #6 quite a bit–despite some expository dialogue that smacks of a Sci-Fi original movie. The clever cliffhanger–one of several selling points of #6–calls quickly–too quickly?–to mind what’s come before, making this month’s offering as crucial as can be. The danger: doling out too much or too little here in #7. Snyder’s got to play this one just right.

Alex + Ada #5 (Image): Sure, the forum discussion gets a tad technical, but it is easily chalked up as a necessary evil–one rehabilitated almost immediately by Jonathan Luna’s patient visual storytelling, which, along with complementing well Sarah Vaughn’s more economical approach to the dialogue, accentuates the suspense born of Alex’s choice to reboot Ada. Love the way the issue ends: I’m pretty sure my eyes widened–like Ada’s–in anticipation of that final page turn, which revealed, to my dismay, a suffering Ada. Kudos to Luna and Vaughn for making me suffer along with Ada in the moment and along with Alex for the last month or so. I’m desperate to discover how this pans out for the two of them three of us.

Alex + Ada #5

Fatale #21 (Image): This siren song of a series hit a high note with #20–our #2 book of February. Yet another insistent miracle from Ed Brubaker and Sean Phillips. Not yet willing to accept that Josephine’s story is coming to an end.

Fatale #21

The Manhattan Projects #19 (Image): Can you guess which part of #18 I appreciated the most? If you’ve been following our blog for a while, you know exactly which sequence left me squealing with joy–a hole lot of joy! (Hint: it’s not the one in Oppenheimer’s head.)

Satellite Sam #7 (Image): With #6, it’s back to business and, as a result, a return to form. Matt Fraction’s writing is crisp, the dialogue an intricate dance; Howard Chaykin’s artwork is–as always–out of this world.

Hawkeye #18 (Marvel): Has been a wild ride number-wise, and, as a result, storyline-wise. #17 was kind of fun in a frivolous and furry way. Speaking of: it’s time for another Kate Bishop singleton! Starting to wonder if I’m buying this for Fraction or for his Hawkeye. I’m leaning toward the latter. That’s right: I’m the Leaning Reader of Hawkeye–who may pass on Clint-less copy.

The Bunker #2 (Oni Press): An interesting premise, naturally complicated by the time-travel aspect, delivered with relative ease by Joshua Hale Fialkov and Joe Infurnari. Looking forward to this one.

The Bunker #2

Doc Savage #4 (Dynamite): Still haven’t read the first three.

The Midas Flesh #4 (BOOM!): #2 was one of our top books of January. #3 didn’t crack our list for February, but it was solid follow-up that gleefully gave us all the finger–Midas’s finger. That’s some serious WMD: Weaponized Midas Digit. Talk about the spoils of war! The blood is the treasure!

Uber Special #1 (Avatar): I’m still diggin’ Uber. Not too sure how much we need a “special,” though.